We'd never heard of "Taylord", but bought this thinking for sure that the name would turn up in some tome as a small production Arts & Crafts silversmith. No such luck. As it happens they were largely makers of (gasp!!) mid-grade costume jewelry, and this bracelet with individually cast links and hand set stones is probably the finest item the company eve...

set of six in original felt lined box, .800 standard, maker Fabbrica Argenteria Fiorentina circa 1935, total weight 3.86 oz. Troy, excellent condition, no monogram. These are well modelled and well executed. Each putto is full figural front and back. Though the little folks are cast from the same mold, each is carrying a different dish: soup, fish, fowl, eggplant, grapes, salad, and of course wine. An altogether charming way to guide your guests at table.

no, not that kind of a cat box, but a snuff box with "trap door" opening and secret compartment, 2 1/4 by 1 7/8 by 1 inches, weight 2.27 oz. Troy, marked with Chinese ideograms only (please see 5th photo).

In terms of construction, this is, not alas a first rate object. The edges don't quite meet up flush, the hinge is on the exterior rather than integral, and there are also a few minor bits of waviness on the front and side panels. However, the subject matter is totally charming, and t...

Rand and Crane, length 11 5/8 inches, weight 3.98 oz. Troy, monogrammed "M" (obverse, old English), excellent condition with button on reverse. The shell appears to be applied rather than die-struck, but little else is remarkable about this spoon aside from the price, which we deem to be quite reasonable.

Prevear was a silversmith, watchmaker, and inventor. He was born in Northampton (1818) and apprenticed to Samuel Harrington of Amherst, who later became his partner. He married Olive Hanscome in Amherst (1843), and after her death married a second time (1856) to Elizabeth Pranker, an 1853 graduate of Mount Holyoke Female Seminary, now Mt. Holyoke College. Subsequent to the second ...

length 5 3/8 inches, no monogram, exemplary original condition, weight 1.00 oz. Troy. For those who might not be familiar with the design and production of these small sculptures cast in silver, we would commend to you the excellent chapter on same in Carpenter's "Gorham Silver".

length 5 1/8 inches, weight .68 oz. Troy, excellent condition, no monogram. Watson, which was located just above Providence, RI in North Attleboro, Massachusetts had many fine quality designs. In addition to Cherub, their Lily and "Fruit and Flowers" patterns are both sought after by collectors for the faithful and finely detailed rendering of their subject matter.

mother of pearl handles, length 7 1/4 inches, monogrammed "JMW" (script, conjoined), one has a bit of tip distress as shown in photo number four, another some minor scratches and a few blades are set in at a slight angle but fine overall condition. Singles are rare enough, but it is quite unusual to find a set of these...

length 5 1/2 inches, weight .64 oz Troy, excellent condition, no monogram, mark of Watson-Newell corporation. Aside from the obvious skill and detail with which the face was rendered, what lifts this spoon into the realm of above average is the applied wirework decoration, "Chicago..."

retailed and presumably designed by F.E. Ladd, length 5 1/2 inches, weight .8 oz. Troy, elaborate shaded script monogram, fine condition. A spoon which not so very long ago commonly sold for upward of two hundred dollars, at auction. Take advantage of the slight slowdown in the antiques market, while it lasts, to get this item at an advantageous price...

length 13 1/2; width 11; height 2 1/4 inches, in classic Art Nouveau form with embossed cherries along undulating border, no monogram, excellent condition though currently a bit bright (we're not responsible for this sin, alas...), weight 27 oz. Troy. Those who unlike Yours Truly have long strong memories may recall a similar example which we helped place in the Gorham collection at RISD (see Silver Magazine, March/April '98, p. 18). This one is a bit better, we think. But why let museums h...